I am guessing that this “boiler room space” is some how connected to Shelly’s aura,and only Tina can see it. But then that would beg the question as to why she can see it now, and not all of those other times that Shelly was in the shop in the past.

I am awed by Tina’s hand in the last panel. Hands are darned hard to draw; and that kind of extreme foreshortening makes it triply difficult. But it’s PERFECT. Every joint is naturally posed, the casual squiggle of that one pointing finger perfectly delineating the foreshortened finger…. wow.

That hand comes right out of the paper at me, and gives me chills down my spine. Ever read a short story called “Don’t Look Behind You” by Frederick Brown? Scared the living hqiz out of me, and this does the same. Outstanding lead-up to Halloween, whether coincidental or not. Wapsi has gone to the next level of magnitude in creepiness.

One of the things I’ve always loved about your comics is how you always have such great facial expressions and gestures. It’s not just a smile or frown like others do, the character’s are so expressive and they seem more like real life. Your comic is just amazing in general to read ^_^

I’m very impressed. Making the finger follow you in the room is real dificult to draw. I’m still wondering if she ment to break the fourth wall. I’m properly halloweenly creeped out anyway. Looking foreward to tomorrow.

Remember, Tina’s dealt with Shelly’s “creepy little girl” int he boiler room before when she was stuck in Shelley after a night of partying. It seems like if that’s Shelly’s personal demon, she’s no longer content to remain buried deep down in Shelly’s basement/psyche as it looks like she’s on the first floor of a house now. Out of all the demons in the strip, this one could be one of the more straightforwardly dangerous ones, and why she’s being released now should prove interesting.

It’s possible that the demon is getting leverage because Shelly is being asked something that goes COMPLETELY out of her character. When faced with a situation like that you have to evaluate and REINVENT yourself, giving way for something darker to emerge during the transition.

As a 3d Animator and TD, I can say that I agree with all the comments about the hand. Doing rigging I can attest that, even in 3d, that is a hard pose to do. You have to do so much with lighting, textures and camera angle.

To pull that off with 2d and with no shading takes some serious talent. Amazing.